Louis Vuitton’s show caused traffic chaos early on Wednesday with photographers clambering to get the must-have shot of guests Jennifer Connelly, Selena Gomez, Sofia Coppola and Michelle Williams.
Designer Nicolas Ghesquiere’s only second ready-to-wear collection since Marc Jacobs’ departure last year, was an ode to the ‘60s. It moved the storied house in a younger direction.
But the sparkling celebrities and clothes were, alas, victim to the biggest fashion upstaging of the season. The culprit: one a gargantuan prima donna that will outlive them all — the brand-new, hundred-million dollar Louis Vuitton Foundation art museum and cultural centre.
Beyond the catwalk, former editor-in-chief of Vogue Paris, Carine Roitfeld was seen wearing big, dark shades at the Vuitton early morning show.
Late the night before, the stylist with the gold contacts book had been partying at the launch of her latest project, “CR Fashion Book 5.”
It was the most glamorous night of the Paris season with a surprise DJ set by Paris Hilton. Kim Kardashian, in a revealing black tuxedo, posed with a coiffed Justin Bieber.
While upcoming model, and Kardashian sibling, Kendall Jenner sipped drinks with her mum, Kris Jenner, near Karl Lagerfeld and Baz Luhrmann.
It’s not known if Kris spoke to Lagerfeld about the fact she was seated on the back row of Tuesday’s Chanel show.
LOUIS VUITTON FOUNDATION UNVEILED FOR 1ST TIME
Glistening in the morning sun in west Paris — with billowing glass casing and white concrete panels — the near-12,000 square metre building designed by Frank Gehry had guests stopping in their tracks, mouths open.
“It’s incredible, it really is,” said one guest, Long Nguyen, who stopped to take a photo.
At a cost of well over €100 million (Dh464.8 million) the edifice, which has been compared to an iceberg or giant sailboat took over a decade to make. It will have 11 gallery spaces of different sizes and opens officially at the end of October.
The man behind it is billionaire Bernard Arnault, France’s richest man and head of the world’s biggest luxury group, Louis Vuitton parent company, LVMH.
Arnault commissioned it to house his vast contemporary art collection. The building, decorated with “L’s” and “V’s,” has been branded a tycoon’s “vanity project” by the media.
Regardless, it’s one of the most exciting, avant-garde Parisian architectural projects in years.
LOUIS VUITTON’S NEW CHAPTER IS YOUNG AND FUN
The collection opened with great classic ‘60s white lace, high neck mini dresses — with a sporty feel — and looks that had black ribbons round the neck.
The Swinging Sixties-musing continued elsewhere in some nice velvet looks and a pair of enviable russet cropped pants.
There was also a nod to this on-trend Balkan, ethnic look in zigzag detailing, Grecian embroidery and thick lacing down the torso — that has been on high rotation this season. Those were the hits.
The several misses included looks with sometimes-clashing colours and textures — such as a garish, shiny eel skin mini dress in thick orange and black stripes.
What’s apparent is that Ghesquiere’s vibe is much younger and much more “fun” than that of Jacobs.
The question is: will this please Vuitton’s older (and more monied) clientele?
HERMES DESIGNER’S SWAN SONG
It was an emotional farewell for Christophe Lemaire — the man at the creative helm of jet-set powerhouse Hermes since 2010, who has successfully pushed the brand in the direction of pared-back elegance.
The French-born designer played it safe for his swan song, in a collection that played with wrapping.
A gentle, sleeved long classical gown in off-white opened the show that softly moved into an enviable scarf-wrap silhouette.
A voluminous jersey in mustard yellow possessed a graceful kinetic upward sweep as the fabric swirled around the neck and hung down.
The loose, printed and patterned dresses didn’t quite hit the same mark.
But Lemaire finished his cadence at one of the world’s most iconic houses on a harmonious cadence.
MIU MIU’S MAGIC COLOUR SUBSTITUTION
Miuccia Prada’s show for Prada’s little sister brand, Miu Miu, was all about playful — and colourful — substitution.
The formula for the first looks: unfitted coat, ruffled silk blouse, knee length skirt. The colours rotated.
The skirt was beige, the coat white, you blinked — and like a magic trick, the skirt became white, the coat beige. The same for the red and black shirts.
Mistress of subtle details, Madama Prada was winking at guests throughout the whole show.
In the silhouette, midriffs were often exposed, with plunging necklines and cool tulle boob tubes.
Blown up colourful tartan worked a treat, especially near the ‘50s-tinged finale with white circular lapel coats.
A lovely collection.
ALEXANDER MCQUEEN’S KIMONOS
Giant white 3D flowers met guests at Alexander McQueen’s spring show, based on designer Sarah Burton’s dizzying collection of antique kimonos.
Despite these potentially eccentric propositions, what met guests was one of the most “ready to wear” shows Burton has produced since the house founder died in 2010.
Black face masks added the obligatory edgy feel, but simple Asian silhouettes in black and white with spliced sections in the skirt, circular sleeves and simple Oriental floral motifs, made it feel like the British designer has gone down a gear.
Still, there were some more playful ideas -— especially toward the end — like pink ruffled dresses with a torn up texture, and a fierce laser-cut leather harness with a billowing, organza flower skirt.
